Open Access. Powered by Scholars. Published by Universities.®
- Keyword
-
- Russia (3)
- Orthodox Church (2)
- Religious art (2)
- Russian icons (2)
- Viktor Vasnetsov (2)
-
- Abramtsevo (1)
- Affair of the Diamond Necklace (1)
- Agnès Varda (1)
- Alexandra Fedorovna (1)
- Annette Messager (1)
- Art (1)
- Art Historical Canon (1)
- Art embroidery (1)
- Artistic Canon (1)
- Artistic Creation (1)
- Black Venus (1)
- Body Politics (1)
- Book reviews (1)
- Boston (1)
- Canon (1)
- Chantal Thomas (1)
- Christine de Pisan (1)
- Communism (1)
- Cosmonaut (1)
- Creation (1)
- Elena Prakhova (1)
- Elisabeth Vigée-Lebrun (1)
- Female Representation (1)
- Female Representation in Art (1)
- Female Sexuality (1)
- Publication
- Publication Type
Articles 1 - 10 of 10
Full-Text Articles in Art and Design
Eternity In Low Earth Orbit: Icons On The International Space Station, Wendy Salmond, Justin Walsh, Alice Gorman
Eternity In Low Earth Orbit: Icons On The International Space Station, Wendy Salmond, Justin Walsh, Alice Gorman
Art Faculty Articles and Research
This paper investigates the material culture of icons on the International Space Station as part of a complex web of interactions between cosmonauts and the Russian Orthodox Church, reflecting contemporary terrestrial political and social aairs. An analysis of photographs from the International Space Station (ISS) demonstrated that a particular area of the Zvezda module is used for the display of icons, both Orthodox and secular, including the Mother of God of Kazan and Yuri Gagarin. The Orthodox icons are frequently sent to space and returned to Earth at the request of church clerics. In this process, the icons become part …
Viktor Vasnetsov’S New Icons: From Abramtsevo To The Paris “Exposition Universelle” Of 1900, Wendy Salmond
Viktor Vasnetsov’S New Icons: From Abramtsevo To The Paris “Exposition Universelle” Of 1900, Wendy Salmond
Art Faculty Articles and Research
This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Church of the “Savior Not Made by Hands” at Abramtsevo in 1880–81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was …
Ellis H. Minns And Nikodim Kondakov’S The Russian Icon (1927), Wendy Salmond
Ellis H. Minns And Nikodim Kondakov’S The Russian Icon (1927), Wendy Salmond
Art Faculty Books and Book Chapters
"Kondakov’s magnum opus [The Russian Icon] failed to win an audience. Though it appeared just in time for a surge of popular interest in Russian icons abroad, it never became the book of choice for the English-speaking public seeking a guide through the ‘dark forest’ of the icon’s history... My chapter offers some suggestions for why this crude caricature of Kondakov’s work took hold in the 1920s and became axiomatic throughout the Soviet period. In particular, it considers the role that Minns’s translation may have played, however inadvertently, in cementing this impression. Minns’s interventions in and framing of …
French Women In Art: Reclaiming The Body Through Creation/Les Femmes Artistes Françaises : La Réclamation Du Corps À Travers La Création, Liatris Hethcoat
French Women In Art: Reclaiming The Body Through Creation/Les Femmes Artistes Françaises : La Réclamation Du Corps À Travers La Création, Liatris Hethcoat
Student Scholar Symposium Abstracts and Posters
The research I have conducted for my French Major Senior Thesis is a culmination of my passion for and studies of both French language and culture and the history and practice of Visual Arts. I have examined, across the history of art, the representation of women, and concluded that until the 20th century, these representations have been tools employed by the makers of history and those at the top of the patriarchal system, used to control women’s images and thus women themselves. I survey these representations, which are largely created by men—until the 20th century. I discuss pre-historical …
Embroidery In The Circle Of The Last Romanovs, Wendy Salmond
Embroidery In The Circle Of The Last Romanovs, Wendy Salmond
Art Faculty Articles and Research
This article essay examines the liturgical embroideries associated with the Empress Alexandra Fedorovna and her sister Grand Duchess Elizaveta Fedorovna. It suggests that the sisters’ needlework for sacred purposes was invested with a significance not seen in elite Russian society since the late seventeenth century. At a time when the arts of Orthodoxy were undergoing a state-sponsored renaissance, who was better suited to lead the resurgence of liturgical embroidery than the wife and sister-in-law of the Emperor, the last in a long line of royal women seeking to assert their piety and their power through traditional women’s work? In the …
Pavel Tretiakov’S Icons, Wendy Salmond
Pavel Tretiakov’S Icons, Wendy Salmond
Art Faculty Books and Book Chapters
"Between 1890 and his death in 1898, the Moscow art collector Pavel Tretiakov acquired sixty-two icons of the sixteenth and seventeenth centuries. With this comparatively late entry into the world of icons, Tretiakov laid the foundation for one of the world’s greatest collections of medieval Russian paintings. Why is it, then, that Tretiakov’s icons are today so rarely mentioned and so hard to find? The most practical explanation is that they were simply swallowed up into the vast repositories of the reorganized State Tretiakov Gallery in 1930, along with thousands of icons from churches and private collections nationalized afer 1917. …
An Imperial Collection: Exploring The Hammers' Icons, Wendy Salmond
An Imperial Collection: Exploring The Hammers' Icons, Wendy Salmond
Art Faculty Books and Book Chapters
"Changing hands one last time, in the 1950s, for many years the icons at BJU lived as it were incognito, the details of their glamorous origins largely forgotten. Reuniting this core group-the cream of the Hammers' imperial icons--with others that passed into American museums in the 1930s allows us to appreciate the full significance of Armand and Victor Hammer's foray into marketing icons Americans.Viewed in isolation, most of their "imperial icons" are perhaps no mo than a poignant reminder of the vast destruction and dislocation of Orthodox culture during the Soviet Cultural Revolution. Taken together, however, they paint a vivid …
Foreword To Irina Yazykova, Hidden And Triumphant: The Underground Struggle To Save Russian Iconography, Wendy Salmond
Foreword To Irina Yazykova, Hidden And Triumphant: The Underground Struggle To Save Russian Iconography, Wendy Salmond
Art Faculty Books and Book Chapters
Wendy Salmond's foreword to Irina Yazykova's Hidden and Triumphant: The Underground Struggle to Russian Iconography, in which Yazykova discusses how the art of icon painting survived during years of Russian Communism and is now poised to launch a new era that reflects modern experience.
How America Discovered Russian Icons: The Soviet Loan Exhibition Of 1930-32, Wendy Salmond
How America Discovered Russian Icons: The Soviet Loan Exhibition Of 1930-32, Wendy Salmond
Art Faculty Books and Book Chapters
On 14 October 1930, the first exhibition of Russian icons ever to take place in the United States opened at the Museum of Fine Arts in Boston. Over the next nineteen months it traveled to nine venues across the country, introducing the American public to a form of medieval painting virtually unknown outside Russia. Billed as the "Union of Soviet Socialist Republics Loan Exhibition," its avowed goal was to share with the outside world the full story of Russian icon painting's evolution from the twelfth to the nineteenth centuries, thereby adding a vital missing chapter to the history of medieval …
Review Of The Iconostasis Of Peter The Great In The Peter And Paul Cathedral In St. Petersburg (1722-1729), Wendy Salmond
Review Of The Iconostasis Of Peter The Great In The Peter And Paul Cathedral In St. Petersburg (1722-1729), Wendy Salmond
Art Faculty Articles and Research
Wendy Salmond reviews The Iconostasis of Peter the Great in the Peter and Paul Cathedral in St. Petersburg (1722-1729) by Julia Gerasimova.